#this is literally semantics and rigor in communication

[papeldeestraza]

Please look up the difference between cult and religion if you don't know it and stop using it interchangeably

[matoxxx]

Matox: The Role of Asemic Writing in Contemporary Art with Michael Jacobson and Tim Gaze

Asemic writing, as an artistic movement, has redefined the boundaries of language, inviting an exploration into the expressive potential of signs, strokes, and forms. Among the influential figures shaping this avant-garde practice, Matox (Nuno de Matos) stands as a key figure whose exploration of asemic writing distills the act of writing into an expressive visual gesture. Alongside him, Michael Jacobson and Tim Gaze have been instrumental in defining this concept, each contributing their unique interpretations of how asemic writing can transcend traditional language and enter the realm of pure art.

Matox: A Gesture of Freedom in Asemic Writing

Matox’s practice is a direct engagement with language as a performative act. For him, writing is not confined to communication or meaning-making but exists as an embodiment of thought, emotion, and movement. His works, often created with a free-flowing and intuitive hand, present asemic writing as an unrestrained visual language—one where the line, stroke, and shape become the ultimate vehicle for expression. Matox explores writing as an organic force that reflects the movement of the hand, where each mark on the page captures a moment in time, an immediate response to the subconscious.

His works are not meant to be “read” in the conventional sense but felt. The lack of linguistic meaning invites the viewer to engage with the physicality of the writing itself. In Matox’s work, the act of creation becomes the central focus, where signs are not markers of communication, but rather artifacts of a personal, abstract process.

Michael Jacobson: Theoretical Groundwork in Asemic Writing

Michael Jacobson has played a pivotal role in bringing critical insight and academic rigor to the world of asemic writing. As both a theorist and practitioner, Jacobson has deeply engaged with the notion of asemic writing as a visual language—one that exists beyond the constraints of linguistic structures. His writings delve into how asemic writing can reflect the subconscious, functioning as an exploration of psychic space rather than a medium for explicit communication.

Jacobson’s conceptualization of asemic writing emphasizes that it is not merely a deviation from language, but a new form of expression. His work underscores the idea that asemic writing allows for a freedom of interpretation, where viewers can approach the marks and symbols without the burden of conventional meaning. This aligns with Matox’s own practice, which emphasizes intuitive, non-literal engagements with text, where the meaning is not predetermined but is instead left open to the viewer’s imagination.

Tim Gaze: Deconstructing Language into Visual Expression

As a founding figure of the Asemic Writing movement, Tim Gaze has been instrumental in defining and expanding the practice. Gaze’s works often draw upon abstract calligraphy, merging traditional handwriting with expressive, non-conventional symbols. His approach to asemic writing is grounded in a systematic exploration of the act of writing, focusing on how the structure of language can be deconstructed into visual art.

For Gaze, asemic writing is not only about breaking free from semantic boundaries, but also about the interaction of form and space. His work emphasizes visual coherence and gestural flow, suggesting that asemic writing functions as a form of communication beyond the literal. Gaze’s contribution lies in his ability to create new symbolic languages, allowing writing to evolve from a communicative tool into an artistic expression in its own right.

The Collective Impact of Matox, Jacobson, and Gaze

The convergence of Matox, Jacobson, and Gaze highlights the multifaceted nature of asemic writing as both an aesthetic and theoretical exploration. While Matox’s work focuses on the embodiment of writing as a gestural language, Jacobson’s theoretical contributions provide an intellectual framework for understanding how asemic writing functions as a reflection of the unconscious mind. Gaze, with his systematic approach, seeks to redefine the role of writing in visual art, pushing the boundaries of its form and function.

Together, these artists have brought asemic writing into the broader conversation about contemporary art and its relationship to language. Through their work, they have shifted our understanding of writing as a purely functional tool into a dynamic, fluid artistic practice that transcends traditional meaning-making. Their work suggests that the act of writing can be more than communication—it can be a form of pure expression, a gesture of freedom, and a visual language that speaks directly to the viewer’s senses.

Asemic Writing as a New Territory for Artistic Expression

In today’s landscape of contemporary art, asemic writing represents a breakthrough in how we understand language, communication, and expression. Through the lens of artists like Matox, Jacobson, and Gaze, writing has become a multifaceted medium, one that defies the constraints of linguistic codes and embraces the full expressive potential of the visual gesture. Their work continues to expand the possibilities of what language can be in the context of art—no longer a tool for conveying meaning, but rather a vibrant, open field for emotional and aesthetic exploration.

In their collective contributions, Matox, Jacobson, and Gaze have redefined the role of asemic writing in contemporary art. By focusing on the materiality of language and its ability to evoke emotional responses, they have introduced a new understanding of what writing can be—an art form in itself, free from the limitations of conventional meaning.

⸻

#Matox #AsemicWriting #MichaelJacobson #TimGaze #VisualLanguage #ContemporaryArt #ArtisticExpression #AbstractCalligraphy #GestureInArt #LanguageAsArt #ModernArt

[nicklloydnow]

“Mises's well-known calculation argument states this: If there is no private property in land and other production factors, then there can also be no market prices for them. Hence, economic calculation, i.e., the comparison, in light of current prices, of anticipated revenue, and expected cost expressed in terms of a common medium of exchange—money—(thus permitting cardinal accounting operations), is literally impossible. Therefore, socialism's fatal error is the absence of private property in land and production factors, and, by implication, the absence of economic calculation.

For Hayek, socialism's problem is not a lack of property but a lack of knowledge. His distinctly own thesis is altogether different from Mises's.1 For Hayek, the ultimate flaw of socialism is the fact that knowledge, in particular "the knowledge of the particular circumstances of time and place," exists only in a widely dispersed form as the personal possession of various individuals; hence, it is practically impossible to assemble and process all the actually existing knowledge within the mind of a single socialist central planner. Hayek's solution is not private property, but the decentralization of the use of knowledge.

Yet this is surely an absurd thesis. First, if the centralized use of knowledge is the problem, then it is difficult to explain why there are families, clubs, and firms, or why they do not face the very same problems as socialism. Families and firms also involve central planning. The family head and the owner of the firm also make plans which bind the use other people can make of their private knowledge, yet families and firms are not known to share the problems of socialism. For Mises, this observation poses no difficulty: under socialism private property is absent, whereas individual families and private firms are based on the very institution of private property. But for Hayek the smooth operation of families and firms is puzzling, because his idea of a fully decentralized society is one in which each person makes his own decisions based on his own unique knowledge of the circumstances, unconstrained by any central plan or supraindividual (social) norm (such as the institution of private property).

Second, if the desideratum is merely the decentralized use of knowledge in society, then it is difficult to explain why the problems of socialism are fundamentally different from those encountered by any other form of social organization. Every human organization, composed as it is of distinct individuals, constantly and unavoidably makes use of decentralized knowledge. In socialism, decentralized knowledge is utilized no less than in private firms or households. As in a firm, a central plan exists under socialism; and within the constraints of this plan, the socialist workers and the firm's employees utilize their own decentralized knowledge of circumstances of time and place to implement and execute the plan. For Mises, all of this is completely beside the point. But within Hayek's analytical framework, no difference between socialism and a private corporation exists. Hence, there can also be no more wrong with the former than with the latter.

Clearly, Hayek's thesis regarding the central problem of socialism is nonsensical. What categorically distinguishes socialism from firms and families is not the existence of centralized knowledge or the lack of the use of decentralized knowledge, but rather the absence of private property, and hence, of prices. In fact, in occasional references to Mises and his original calculation argument, Hayek at times appears to realize this, too. But his attempt to integrate his very own thesis with Mises's and thereby provide a new and higher theoretical synthesis fails.

The Hayekian synthesis consists of the following propositional conjunction: "Fundamentally, in a system in which the knowledge of the relevant facts is dispersed among many people, prices can act to coordinate the separate actions of different people" and "the price system" can serve as "a mechanism for communicating information."2 While the second part of this proposition strikes one as vaguely Misesian, it is anything but clear how it is logically related to the first, except through Hayek's elusive association of "prices" with "information" and "knowledge." However, this association is more of a semantic trick than rigorous argumentation. On the one hand, it is harmless to speak of prices as conveying information. They inform about past exchange ratios. But it is a non-sequitur to conclude that socialism's central problem is a lack of knowledge. This would only follow if prices actually were information. However, this is not the case. Prices convey knowledge, but they are the exchange ratios of various goods, which result from the voluntary interactions of distinct individuals based on the institution of private property. Without the institution of private property, the information conveyed by prices simply does not exist. Private property is the necessary condition—die Bedingung der Moglichkeit—of the knowledge communicated through prices. But then it is correct only to conclude, as Mises does, that it is the absence of the institution of private property which constitutes socialism's problem. To claim that the problem is a lack of knowledge, as Hayek does, is to confuse cause and effect, or premise and consequence.”

[revelatorylies]

ENTRY #2: Creative Instruction or Participation?

9.1.2020

Where is the line between the “simple” instruction and the “creative participation,” separating works between levels or phases two and three?

When identifying “Directed Participation,” Professor Burrough commented on “the notion of simplicity” (Burrough, Class Notes, 2020). In this phase, the participant executes a seemingly benign or simple task which contributes to the totality of the project. Phase three signifies “Creative Participation” in which the user contributes by providing a piece to the whole scale of the project in which the artist has established a foundation or structure to adhere to.

If we consider the example of Yoko Ono’s “Wish Tree” (1981, 2012), guests were encouraged to jot down a wish and hang it into a tree branch as a mode of directed participation. While the wish might offer a moment of contemplation, it requires little action and the process is mechanical. The concept doesn’t require rigorous activity on the participant’s behalf; it’s a simple gesture, an action that might require little thought. The activity performed is a small one that consists of minimal effort.

Ono, Yoko – Wish Tree (1981, 2002)

On the other hand, creative participation allows a visitor to provide a piece to a whole. If we use Allison Smith’s “The Muster (2005)” as an example, this public event examines the scope of historical reenactment. Smith provides a rubric, a set of rules, for participants to adhere to. These instructions compelled participants to answer a question, to craft a uniform of their own, and so forth. How the participants choose to respond to the instructions is beyond the artist’s control; from the costumes produced to the answer in response, this by-product might belong to the participant and invokes a creative production of work which contributes to a larger whole.

Smith, Allison – The Muster (2005)

Perhaps another example of creative participation would be the Interactive AIDS Quilt which pays homage to the AIDS crisis as an interactive experience. To get involved, participants create an appropriately sized panel that can assume the form of any medium they wish. Therefore, creative participation might be distinguished from directed participation as an interpretive call to action – the participant experiences artistic liberty when providing their contribution.

While there is no inherent judgment across the four phases of participation, this type of structure is helpful for determining social engagement. How might you imagine utilizing this information in a future project proposal?

In accordance with the four phases of participation, I’m inclined to pitch a proposal that encompasses one phase. However, I acknowledge that these phases may blend and bleed together. I’m enamored by creative participation since I’m inclined to believe that this phase grants the participant some artistic liberty in their interpretation of the structure presented by the artist. I can look at the examples provided by class, research other examples, and use a combination as a model rubric for my proposal. By utilizing creative participation, I might want to consider the type of engagement to follow. I’m inclined to resort to a voluntary form of engagement in the drafting of this individual project.

Indeed, Helguera ponders, “what kind of community does SEA aspire to create?” (Helguera 9). My interest centers on the cosplay community for my individual project. For instance, I might compose an “open call” for cosplayers to submit to as a creative participatory project. This open call would require for cosplayers to take a picture of themselves in their most cherished cosplay in their work room. The photo would then be uploaded online to be curated in some digital fashion. How the cosplayer takes the photo, how the cosplayer poses, and how the cosplayer engages with their magnum opus is contingent upon their own actions. In collecting these images, how does this reflect onto the community? What does the community want to “give” in this reciprocation?

Have you created a work of art that you can identify as fitting one of the levels of participation – if so, which level and why?

My transmedia work, “.//wired: TRENDING (2019),” exemplifies of Nominal Participation in which engagement places emphasis on reflection. In ".//wired: TRENDING," I impose my perceptions of the cosplay community's relationship with stardom and viral success onto a mannequin; in other words, I crafted a costume and allegory which I sub-planted onto a canvas as a hollow body. I welcomed the audience to remove layers of the costume to explore the multitude of semiotic meaning embedded onto the mannequin. I encouraged for viewers to plug their phones to be “connected” and allow for participants to post about the experience on Instagram. The response, however, was a passive one in which viewers simply wished to look and to scroll through the Instagram archive rather than explore the body present on NYU’s campus. I would love to try this project again, now removed from my MA thesis, to encourage participation. How can I better advertise that? Or can I reconstruct the event as a virtual “happening”?

{ Technical Investigation }

Is there a digital technique you want to learn while you are taking this course?

I would like to improve my proficiency in using Sketch Up when imagining an exhibition space or sketching out my ideas for the individual project. I wonder how I might better improve my dalliances in technology. I often engage in mixed media collage-making. How I might convert that into a digital collage to create an entirely new image? How can I migrate my work further into the digital world? Would it be possible for me to compose a vector drawing that has participatory elements, or should I attempt to produce an interactive digital installation over the course of the semester?

In response to Allison Parrish’s talk on “Exploring (Semantic) Space with (Literal) Robots” at Eyeo 2015, I find myself inspired by Parrish’s use of Twitter bots to compose poetry through prose. Would it be possible for me to produce a bot that creates miscellaneous, randomized, geometrical figures? What technology would I use and how would I find meaning in the randomization?

LIES, LIES, LIES!

*Lie #2] The Lie of Spectatorship: In the act of spectatorship, the participant is engaged and builds a dynamic relationship with the work that they either loathe or admire, view or disregard. Spectatorship surmounts to an action as an approach that the viewer takes in response to the work of art; this concept behaves akin to a stepping stone in which the participant chooses how to deepen their relationship in respect to the work.

References

Helguera, Pablo. Education for Socially Engaged Art: A Materials and Techniques Handbook. Jorge Pinto Books, 2011.

Ono, Yoko. “Wish Trees.” Imagine Peace Tower, 2 July 2019, imaginepeacetower.com/yoko-onos-wish-trees/.

Parrish, Allison. “Exploring (Semantic) Space With (Literal) Robots.” Vimeo, Eyeo 2015, 2015, https://vimeo.com/134734729.

Smith, Allison. "Declare Your Cause." The Art Assignment, Youtube, May 7, 2015, https://www.youtube.com/watch?v=1-Nqrk8IE78.

[t-baba]

How to Build Runnable JavaScript Specifications

Programming is not only about giving the computer instructions about how to accomplish a task, it’s also about communicating ideas in a precise way with other people, or even to your future self. Such communication can have multiple goals, maybe to share information or just to allow easier modifications—it’s hard to change something if you don’t understand it or if you don’t remember what you did long time ago. Documentation is key, either as simple comments in your code or as whole documents describing the overall functionality of a program.

When we write software we also need to make sure that the code has the intended functionality. While there are formal methods to define semantics, the easiest and quickest (but less rigorous) way is to put that functionality into use and see if it produces the expected results.

Most developers are familiar with these practices: code documentation as comments to make explicit the goal of a block of code, and a series of tests to make sure functions give the desired output.

But usually the documentation and testing is done in different steps, and by unifying these practices, we can offer a better experience for anyone involved in the development of a project. This article explores as simple implementation of a program to run JavaScript specifications that work for both documentation and testing.

We are going to build a command-line interface that finds all the specification files in a directory, extracts all the assertions found inside each specification and evaluates their result, finally showing the results of which assertions failed and which ones passed.

The Specification Format

Each specification file will export a single string from a template literal. The first line can be taken as the title of the specification. The template literal will allow us to embed JS expressions between the string and each expression will represent an assertion. To identify each assertion we can start the line with a distinctive character, in this case, we can use the combination of the bar character (|) and a dash (-), which resembles a turnstile symbol that can sometimes be found as a symbolic representation for logical assertions.

The following is an example with some explanations of its use:

The post How to Build Runnable JavaScript Specifications appeared first on SitePoint.

by James Kolce via SitePoint http://bit.ly/2L0nZQk

[seocompany3toronto]

Today the field of social and best shapewear  behavioral sciences has lost its true meaning under institutional pressure of tenure and promotion clocks. One can no longer feel the palpable energy or the desire to make a difference and the fearlessness about being innovative. Passion is highly lacking in these areas of education. There are the publish or perish dictates and funding agencies that reward hard science practitioners and thus many academics soon become disenchanted.

 The researchers are content is letting themselves do the work they want to do later, and later never arrives so it is very convenient. There are a plethora of traditional methods that are grounded in scientific methodology that suits some and there is no place for art based Maternity Shapewear education. But on the other hand, there are traditional qualitative research methods that create a working space for the others. And there are other methods including the art based education with research conventions that make what once started as passion feel more like a job. The art education researchers are not just discovering new told for they are carving them according to the needs and requirements of the students.Thus, based on the tools they sculpt a space is opened within the education community where passion and rigor can be boldly expressed out in the open. Some researchers have come close to forming methods of art based education as a way of better addressing research question. While there are other art based education methods that openly merge the scholar aspects with the artist self. Thus holistic and integrated perspectives formed as a result of the merging of arts based project with various research based practices. The turn to creative arts in the field of education forms influence of many methodologies.Art washer dryer clearance instructed education and science bear intrinsic similarities in their attempts to highlight the aspect of human condition. Based on exploration, revelation and representation, art based projects and science work towards advancing human understanding. Although the semantics of art related projects has historically separated common thinking about it from scientific enquiry? There is serious investigation regarding the profound relationship between art related instruction and science. There are many books written on cross disciplinary aspects of art related instruction.In recent decades art instructed practices area set off methodological tools that reused qualitative researchers across the various disciplines during all phases of the process of education. The various art based methods of education draw on literary writing, music, performance, dance, visual art, film and other mediums. Some of the representational forms of art based education include poems, novels, dances, documentaries and songs.It is a well known fact that art has a unique power and it has been appliances houston inspiring human beings for centuries now. Art lets the creative eye see a wide variety of possibilities in new ways. It is also the connection between our shared humanity and the fundamental human desire to create and invent. Thus art based education is for those who value art for the sake of art.Art based education is also meant for those who believe that education must be rejuvenating for our society and our lives. Art based education is mainly for the artists who seek art in everything, including that which is relevant and authentically connected to the living experiences of the real world. Thus the art based education is based on the experiences of the makers and its viewers.

It is meant for the practitioners, who value the link between relationships and spaces beyond the classroom and the studio. In literal terms, art based education is meant for those who believe in the power of the arts to touch imagination and evoke possibility and alter lifestyle. According to experts, it is the nature of art that lets one creates opportunities; where one can envision something outside the realm of what really exists for opportunities.It also provides the scope for the artists to car dealerships in houston envision something, outside the limits of what really exists for oneself and one's community and the entire world where anything is possible. Artists and art practitioners attest that art based education is within the free space for creative expression and that people can explore new identities and possibilities for themselves.Thus, based on this type of education it is possible to explore new possibilities and identities for themselves and their communities, moving beyond perceptions of limiting boundaries and circumstances. Today, art based education is being applied in order to promote healthy communities and in order to augment prevention and intervention efforts, in the independent as well as the public sector.In addition art based education changes that emerged as a trend is also used in order to build community and foster change that has emerged as a major trend in the recent decades. Art education programmes are aimed at the youth as art tries to transform, enrich luxury cars houston and save lives. In order to achieve the objectives, the programs address some of the society's greatest challenges and strive to transform the youth. Therefore education that is based on art is also being used to address issues ranging from cultural wars to the environment.In the world of learning, there is a need to measure or assess the programs and the resources. What is being utilized here are the education metrics, which aims to give the instructors as well as the head of the organization to measure the quality, efficiency and the productivity of the learning process in the school.To measure the education performance, you can rely on an indicator. However, you will only be given a limited view about the efficiency of the programs of the institution. This is why you should have a set of indicators that will make up the education metrics. Depending upon the level of organization that the metrics will be Houston SEO Expert applied to, you will be able to obtain the right indicators. This means that the tertiary schools have different indicators from the secondary schools. Most indicators may even be applied to the business sense of the institutions.In order for you to provide your institution with the right educational indicators, you should know about the five important things that are needed for education data. The first one is data liquidity, which is by far the most challenging when it comes to learning information. Many people disregard this though especially the fact that there is a need for the individual data to move along with the person that is being monitored. In this case, there is no need for a particular school to bind themselves with the information system. Instead, the flow of data should be with the individual since this is the fundamental concept.Second is the common definitions in which the data gatherers should know about the terms that are being utilized in the measurement process of the educational system. The ability to understand the words or phrases SEO Company Toronto will enable everyone to fully gauge the performance of the institution as well as with the learning capacity of the students. The third one is the relevance. The data that will be collected should be relevant to the school as well as the time and the learners. This will actually help the organization to know if the teachers are capable in providing knowledge and proper information to the students. Aside from that, you will be able to have a relevant outcome and education metrics that will make your business a part of the competition.Fourth is timeliness, which is also useful in order to keep track of the students that are behind their growth. This is because it will be easy to report data that is timely regarding all the aspects that affect the growth of the institution including the teachers, students, districts and the school itself. The last one is accuracy, which is of course important in order for you to get the what career is right for me underlying data. You will be able to find the clearest path when it comes to the information that you need for the collection of the performance of learning. With these five things in mind, you will be able to have your own set of education metrics that will really work for you and your organization.

Who else is tired - dog tired - of fending off request after request from your children for the newest, hottest, blood-splattering and bone-breaking game? Is anyone else exhausted from explaining why it's okay for a friend's parents to give the thumbs-up to "Gorefest 2 - the Splattering," but it isn't appropriate for our house? Why we choose educational video games for kids, the same reason we don't watch R-rated horror films. Or, to wit: why I'm unfair, why I'm a tyrannical goon, why I'm dead set on business analyst certification destroying his popularity.

Why life is unfair.

There's always second-guessing. Is it unreasonable to deny him a game that, in fact, I'd somewhat like to play? I mean, I'm a gamer as well. I was his age not too horribly long ago, growing up in the infancy of console video games. I can say with little doubt that were the roles switched, were he my old man and I his frustrated son, I'd be begging, cajoling, and manipulating my head off to get the same games he wants. It strikes me as very unfair, honestly, that his friends are allowed to play the games that we don't allow in our home. It's unfortunate that parents don't have some kind of early childhood development secret pact in place to reach a consensus, a common agreement, on what's okay and what gets 86ed.

Initially, his mom and I agreed to limit his gaming time to educational games for kids. And, at first, he was happy with whatever we gave him. Arthur was a common sight on the computer, telling a story, increasing vocabulary, encouraging reading. Mickey showed up now and again as well, jumping on numbers, helping reinforce the basic mathematics he'd been learning. He enjoyed the educational video games for kids because he saw himself as a kid. He was happy being a kid; in fact, we all were happy with his situation. Juice boxes for everyone!

Then, we stretched our rules a bit as he stretched out. He talked me into a baseball video game. He didn't have to work too hard to convince me; as both a huge Mets fan and a at one point shameless video game addict, the idea of playing virtual baseball with my son technical schools near me was an easy concept to buy into. I turned around and sold the idea to mom. That wasn't as easy. Baseball, as fun as it might be, was definitely not an educational video game for kids. I weakly mentioned something about the game teaching mathematics - division and averages and such - but we both saw the weak argument for what it was.

She frowned, shook her head, and turned back to her book.

Slippery slope, she said.

I took that to mean "okay."

She put conditions on it, however. Time limits, an imaginary pie chart showing the allowable time with the baseball as compared to his educational video games for kids. This was the beginning, unfortunately, of my son no longer accepting his role as a "kid" any longer. I don't mean to say that buying him a baseball game caused the change; rather, this was about the time that I noticed him ditching some of the trappings of his kid-dom - the blankey went in the closet, for instance.And though I have some nice memories of beating the pants off his Yankees with my Mets, this was also about the time that he began preferring to play against the computer, rather than his old man. Both in his educational games for kids and A+ certification training otherwise.It wasn't long before he started testing us, asking for games he knew he wouldn't get. Spiriting in a copy of a game he'd been told he wasn't allowed to play, and then throwing a tantrum when he was inevitably caught. He's at the regrettable age where, no matter how entertaining or fun the game is, if it's an educational game for kids, it's rejected out of hand. Where before we could bring home anything from the game store, now we've given up buying any educational games for kids as they end up dusty and forgotten in a pile near the television.We've come to realize we can't control what he does at his friends' houses. We've politely asked other parents, whenever it felt appropriate, to keep the violent games from the consoles when our son visits. Unfortunately, there've been times when he's been ostracized by his friends for our requests; his friends sometimes blamed him for his parents' rules.I'm gladdened by the appearance of more and more Wii and DS titles that incorporate more fun and innovation into their educational video games for kids. It's a nice thing to see plus size shapewear that some of these recently released learning games aren't getting the same stigma that learning games of recent history suffered. It's good that the developers are putting the time and money into making them fun enough to forget that they're learning while they're playing. Cosmos Chaos, "Brain" games, and "Think" games are changing the lay of the land.For now, though, we're stuck in the the trap that makes good parenting so difficult. Violence in video games isn't a problem I'd like to see regulated by government - the ESRB works fine for me. Violence isn't even really a "problem" to most people. It just means that parents continue to hope for a larger stream of fun educational used appliances houston video games for kids, while we watch the river of violent games continue to rage by.